Perception: Part 2: Exhibition

perception
exhibition 2 | 3
raheem gilligan

part two

horror in the modernist block
in collaboration with IKON

installation

Working under the curatorial theme of ‘Horror in the Modernist
Block’ the goal of the exhibition was to showcase relevant works.
Architectural models, contextual imagery and visual cinematics all
on display. In order to best utilise the space, the idea was to zone
each element into areas. This included using the projectors for video
work and photography, trestles for live performances, walls for
ornamentation and a centre table for displaying models.
Plan Highlighting the Central Table and Accompanying Performance Areas [Right]

the unspoken

negative vs positive
The Unspoken was a short film on display at the exhibition. The
overarching theme of the video is to highlight negative perceptions of
people within the modernist block, against unseen positive memories.
The idea of which came from merging my concept of perception and
Sufyan Muzaffar’s concept of memory. Chosen visuals present the
current situation of Central Hill, speaking to a negative controlling
image hanging over the estate. The aim of the film is to shed light
on the positive unseen memories of residents to battle this narrative.

Due to the impactful nature of key cinematic shots, the idea for the
space was to utilise the main projection point. Through situating the
film to play at the head of the model table, it fell directly in the eye
line of those entering the space. This allowed for those entering the
exhibition to gain a clear understanding of it’s concept. Creating a
moment for those walking in to lock eyes with the film’s protagonist -
questioning his motives and their perceptions of him.
Plan Highlighting the Main Projection at the Head of the Space [Right]

cinemetrics
The film begins by showcasing Central Hill Estate in it’s current
situation. An estate stripped of life due to residents leaving the estate.
Underneath the backdrop of the film’s reversed instrumental are key
quotes from an interview (conducted as part of my dissertation). To
accompany these quotations are key shots in a black and white filter
- used to portray the desperation of the estate’s circumstances.

0:00 0:07 0:08
0:10 0:18 0:20 0:22
0:30 0:32 0:33 0:35 0:37 0:41 0:43 0:44 0:47 0:48 0:50 0:52
camera pan direction

contrast
Following on from the cinematic intro, the main body of the film kicks
into effect. This main body plays on the idea of contrast as it centres
around a protagonist traversing the estate. Using powerful zooming
shots of and a menacing dress sense, the scenes follow him as
he situates himself in key estate areas. These deliberately provoke
viewers to question the protagonist. Yet sharp cuts to positioned
memories give viewers the opportunity to see another side to him.

traversal
traversal
departure
negative
positive
negative
positive
negative
positive
outro
0 : 57 1 : 12 1 : 26 1 : 40 1 : 54
2 : 08 2 : 16 2 : 24 2 : 38 2 : 44 3 : 08
camera pan direction

symbolism

Symbolism is an architectural model, highlighting the key spaces
shown in the film. Speaking towards the true nature of those traversal
spaces against the confined areas the council would have you
believe they are. Situated at the head of the models table, this was
done on purpose for an immediate connection for people viewing
the film. Allowing them to see a physical model correlating against
the spaces they see.
Plan Highlighting Model Positioning at the Head of the Table [Right]

form
The model itself was hand crafted from jelutong and formed to
symbolise the massing of each space. Those spaces include: the
staircase, the walkways and the sloped hills - positioned in a way
to show a direct traversal through the estate. Through connecting
each of them, I was able to form a continuous tunnel beneath. This
works to symbolise a contrasting narrative imposed by the Lambeth
council. Each section is accompanied by pillars which have unique
iconography to resemble the different spaces.

iconography
Inspired by the lost architectures of Egypt and the use of Egyptian
hieroglyphs, it led to looking at Central Hill as a modern ruin. Given the
threat of demolition, how could we preserve these spaces? Or how
can we acknowledge they were once thriving before the demolition?
The idea then came to create icons of key details within these spaces
and laser etch them into pillars. Using black and white relief imagery,
etching could be performed on pieces of timber - allowing them to
stand in the model as reminders of the past.

the staircase

the walkway

the sloped hills

chiaroscuro

To further contextualise the exhibition space, provocative
photography was displayed on projectors. Deriving from the Latin
word for light and darkness ‘Chiaroscuro’ is a selection of images
playing on this idea of perception. Capturing an unknown person
in the context of a modernist block in Birmingham - appearing as
an entity for negative representation. Ultimately aiming to show the
influence people have on architectural perception.
Plan Highlighting Projection Points for Images [Right]

the wind from the corner
unpredictable but still we stand

a case without a face
more familiar than you think

alone in the dark
aren’t we all?

negatives we’ve been made to know

a spoken word
found at 4:15 in the event video

Our perception of the block is cold
Controlled through the darkness and the light exposed
It could even be through the time of day
Or the attire worn by those who occupy a space
The dark against the light helps to emphasise
Any preconceived thoughts you hold inside your mind
Stereotypes against people leads to architecture
Just wait and see how far that gets you
Maybe the light can bridge the gap
Between the reality and the way we see
Because those within the spaces see it differently
To those who see a film and don’t relate to anything they see
Although not all perceptions of a space are wrong
We often demonise instead of empathise
So maybe understanding its reality can help change our perceptions
To see the block with different eyes
Be it your block their block, or any block
The specific location doesn’t mean the most
Because you can look at film or even Central Hill
And realise that controlling images apply to both
Even modernist blocks that we’ve all known
Share many of these principles and show the traits
So you should take a closer look at what you see
And bridge the gap between what’s real and what’s really fake
Then we wonder why the views are split
With some saying “save them” and others saying “go”
But it doesn’t matter what opinion people hold
When images that we’re shown are always overly controlled
I mean maybe we should make a space
One that can counter the negatives of old
And maybe carry on and build insight
To change away from the negatives we’ve been made to know

Negatives We’ve Been Made to Know was a poem exploring reality.
Questioning whether we should or shouldn’t believe the things
we’re shown in controlling imagery. In the exhibition it was delivered
as a spoken word performance, accompanied with an ambient
instrumental and inverted images of The Unspoken film. Projected
behind me during the performance to cast myself as a silhouette in
front of a large audience.
Plan Highlighting the Performance Zone and Backing Projection [Right]

0 : 10 0 : 20 0 : 30 0 : 40 0 : 50 1 : 00 1 : 10
1 : 20 1 : 30 1 : 40 1 : 50 2 : 00

by exposing the truth through darkness
you’ll see the ‘light’ wasn’t as bright as it seemed